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The Key to Reserva (2007)

Finding an unfinished script written by Alfred Hitchcock himself, Martin Scorsese attempts to recreate it himself as Hitchcock would have.

Director:

Martin Scorsese

Writer:

Ted Griffin
Reviews
1 win. See more awards »

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Cast

Credited cast:
Simon Baker ... Roger Thornberry
Kelli O'Hara ... Grace Thornberry
Michael Stuhlbarg ... Louis Bernard
Christopher Denham ... Leonard
Richard Easton ... Mr. Carroll
Rest of cast listed alphabetically:
Ted Griffin ... Interviewer
Nellie Sciutto ... Woman screaming
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Storyline

Finding an unfinished script written by Alfred Hitchcock himself, Martin Scorsese attempts to recreate it himself as Hitchcock would have.

Plot Summary | Plot Synopsis

Genres:

Short

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Details

Official Sites:

Official site

Country:

Spain

Language:

English

Release Date:

14 December 2007 (Spain) See more »

Also Known As:

Freixenet: La clave Reserva See more »

Company Credits

Production Co:

JWT, Ovídeo TV S.A. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Connections

References North by Northwest (1959) See more »

Soundtracks

Music
from North by Northwest (1959)
Written by Bernard Herrmann
Performed by The MGM Studio Orchestra
Licensed by Warner Brothers Entertainment
© 1959 by EMI April Music Inc. / Primary Wave Songs
Licensed by EMI Music Publishing Spain
All Rights Reserved
International Copyright Secured
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Frequently Asked Questions

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User Reviews

 
one of the most elaborate jokes of recent years
15 January 2008 | by Quinoa1984See all my reviews

Martin Scorsese goes to lengths at the start of The Key to Reserva to present it like it's buried treasure he's discovered; his enthusiasm seems genuine, even funny (i.e. when he goes on about if Hitchcock were alive he'd direct it, but he's not, so...) and then he presents what he's directed- missing pages from a few pages of script that were never shot by Hitchcock. But as the film unfolds, which seems like the greatest homage, as opposed to a real abandoned script, to the master of suspense ever made, there's the eerie feeling it is just that. I loved seeing Scorsese go into a kind of master's class demonstration of how to emphasize all of the obsessions, which were highlighted in the screenplay... And yet, it also seemed a little fishy. It wasn't until later on that a friend, who also saw the short, told me it was fake. Curses! And the birds at the end too were part of the gimmick I bet!

All kidding aside, it's a splendid tribute to Hitch, with a dastardly sense of timing with the scene at the opera, a strange amalgamation of the tensest of Hitchcock's grab bag calling to the likes of Sabateur (ironically, or just oddly enough, twenty years ago Dario Argento, a disciple of Hitchcockian suspense to a very-much Italian horror degree, had a sequence almost just like this one in his film Opera). Simon Baker plays the killer, and there's a timing to his movements that suggests something like perfect clockwork, a kind of divine madness that comes more out of technique then in storytelling. Then again, it's the story itself, however short, that brings it out as such. In the end it's all a big goof by Scorsese played on the audience, but a brilliant one, and he puts himself in the background knowing of his own persona in the process. Matter of fact, that's the real key to reserva, if you'll forgive the not-quite pun: process is the way it goes, be it timing a murder to an orchestration, or a dolly shot or crane move to just the right pitch.

And, of course, always with a knowing grin as with the master's best work... which reminds me, you'd never know it, but it's a wine commercial!


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